This is the
2nd release from the label outa Ohio and it's the synopsis of the words
cult, raw, underground, uncompromising and unholy.
The 4 songs from the Philippinians are preceded by the topic moment
of the dialogue occurring between Linda Blair and the young priest in
the legendary 1973 Friedkin's flick "The Exorcist";
this already sets me in the best mood and expectations and Korihor don't
betray me! Their Black metal is sung with scratching middle vocals,
the guitars riff quite fast, while the rhythmic section isn't in the
background, which means that you can distinguish it all clear (bass
and snare drums included), though they're shot very rapidly and tightly.
"Iniquity of His Sapience" and "Gyltas of Heofunum"
also include Classic Heavy metal riffs, but they're played fast and
they've got the typical Black sounds, devoid of bass sounds. After the
instrumental "Hellexekution" I like to stress out the
memorable feeling lived thanks to the melodic break of "Trident
Sermon", whose drumwork makes it my favorite song of the 4.
An interesting newcoming act from the Asian archipelago that doesn't
sound Norwegian or English, but that can be kin to Beherit, Bestial
Warlust, Blasphemy, Profanatica and so on. Mark: 85/100.
As for the deviated Japanese, who've been active since 1992 but released
only 2 full-length CDs so far, there're a good 8 tracks; the first 4
date back to an April 1992 rehearsal; the sound is hardly sufficient,
but the vocals are low and the CD reveals a few sound decreases from
the tape. I really don't get the sense of sending CDr's when the original
CD already sounds so poor, this really means to shoot oneself in the
foot and also absolutely no respect for the reviewer's job, which is
basically not so easy as it seems to profanes, however...
"Grotesque Nightmare" opens the waging of war of the
Black/Thrash hellbassadors, swift and enriched by demonic vocals; it
could be put between the material of Hellhammer and Impaled Nazarene,
though there's a central slowdown excellently interrupting the onslaught
even reminding me of the "Kill'em All" Metallica.
A sort of doom metal with brutal screams compounds the skeleton of "Death
of Life"; I do appreciate the modern Black Sabbathian riffs
before the final acceleration alà very early Death blended with
Hellhammer; how many draw off from the sick atmospheres of the Swiss
"The Fire of Hell" is even stranger, kind of mixing
Master with Black metal, and as though it weren't enough, they place
in a devastating obscure break leaving your room rife with sulphurian
exhalations. To my view, that's definitely the best of the 8 songs here
included. The closure of this part is entrusted to "Lucifer
Sings", which of course contains inhuman throat interventions,
while drum and guitars go at 1000 mph; that makes them all very Impaled
Nazarene and in the end again Hellhammer, owing to the twisted rifferama:
The remaining 4 songs are on the other hand better recorded and come
from a Tokyo live performance, dated 7.18.1998. The chosen opener is
called "Confound Eternal", sung like a psycho on an
acid trip crisis, followed by "The Ultimate Fight";
both of them can't but remind me of Sodom, and it's a huge pity that
the guitar solos have such ugly sounds (and are actually themselves
rather awful!). The other 2 songs are Bulldozer's cover versions, sustained
by a nice drum work; they're probably the Italians' finest and most
popular songs, "Ilona the Very Best" and "Impotence".
It's fucking great to jump back to the good ol' times and feel that
these songs aren't obsolete at all...It's them that save Abigail from
an insufficiency on this occasion. Mark: 65/100.
MARKUS GANZHERRLICH - 20/2/04
B14 L14 P2 SLV, Puan Davao City, 8000 - The Philippines
59-7, Saiwai-cho, Itabashi-ku, Tokyo, 173-0034 - Japan